II. TRADITIONS AND EXPRESSIONS OF THE MUSICAL ART OR PRACTICE
The hereby compartment of the Inventory reflects, in general, the main categories, genres and species of the art and practices of folkloric music, associated with the sincretic verbal forms of expression, of choreographic, theatrical and object-like ones, in the context of social practices, customs and cultural institutions of communities, mainly rural, from the Republic of Moldova and from the border zones with cultural similarities. Thus the proposed scheme will create an overall image of the structure, evolution, functionality, and certain specific morphological and interpretative features which serve as identifiers. It will likewise reflect the actual state of the elements of musical folkloric heritage inherited by oral transmission, and on the other hand will permit the regional specialists to fulfill this model with new species and sub-species of regional, zonal or local circulation, adapting them to the concrete community conditions. From this point of view, the compartment doesn’t pretend to be an exhaustive image, impossible to apply to a viable social phenomenon, that is in continuous movement, adaptation, transformation and renovation, like the domain of traditional music (folkloric, popular).
The list of musical expressions has an introduction, a short sub-compartment, in which we delimitated the main practices, customs and traditional specific cultural institutions, having artistic values, inside the range of which the flux of activities of popular creations is guided and structured.
At the identification of musical repertory were taken into account the complexity of folkloric traditional music and its capacity to reproduce itself along the time. It was also taken into account the syncretism of diverse expressions in the system of traditional culture and the following criteria for the domain:
Criterion of social function (ex. ritual, non ritual/ everyday life);
Aesthetic criterion (ex. genre: epic, lyric, and dramatic, with corresponding species and categories);
Contextual criterion (ex. the cycle of calendar customs, the cycle of family customs with respective rites and customs);
Criterion of thematic-musical content (sonorous systems, rhythmic systems, architectural systems, style of performance, musical typopogy);
Execution: vocal, instrumental, vocal-instrumental;
Way of execution: individual, ensemble (homophonous, antiphonic, polyphonic);
Age category: children, young, adult (unmarried, married);
Colporteur/ performers: categories of professionals – fiddlers, wedding guests, carollers;
Genre categories (feminine, male, mixed);
Categories of occupation: agrarian, shepherd;
Social environment of manifestation: rural, urban;
Thus were highlighted the following categories of musical expressions:
Genres and species related to customs and calendar practices, Christmas and New Year/ St. Vasile (Basil), spring-summer customs, including shepherder’s customs;
Those linked with family, wedding and burial customs;
Non-ritual customs that are framed in everyday life and contain diverse genres: epic, lyric, vocal, instrumental and vocal-instrumental, epic historic and heroic songs, ballads, lyric songs of recruits, soldiers, songs about war, about love, sorrow, satirical, about shepherd’s life, pastoral musical poems, lullaby, formulas to caress, children’s songs, dance music of Western provenience, „cup” songs, popular romance.
And finally we proposed some methodological principles regarding the delimitation of traditional music from the pseudo-folkloric one, counterfeited, represented by the so called „scenic stylizations”.
Syncretic musical expressions, associated with verbal, dancing, dramatic, objective expressions from the cycle of winter holidays
II.1. Carols of children interpreted by children on Christmas Eve ("Colindeţ"; "Bolindeţ"; "Chiti-miti"; "Am plecat să colindăm"; "Sus la poarta raiului"; "Domn, domn să-nălţăm") and songs about the birth of Jesus/"cântece de stea" ("Trei crai de la Răsărit"; "Rătăceam într-o grădină"; "O, ce veste minunată!" "Steaua sus răsare", etc.).
II.2. Christmas carols interpreted by carolers organized in male groups (carols for host, householders: "La doi meri, la doi prăsazi"; "colinde de flăcău"; carols for young men/lads; carols for grown-up girls; carols for newly-weds; carols for hero, hunter, boyar/ nobleman, voivode/prince: "Cerbul"; "Rage, murge cerb de munte"; "Alimonu împărat"; "Leul"; "Joier mare"; "Joier mic"; "Voinicul şi arcul"; "Voinicul şi şoimul"; "La poartă la Ştefan Vodă"; Carols for shepherder: "Dumnezeu cioban la oi"; "Zestrea ciobanului"; "Voinicul păstor"; "Mioriţa"; carols for fisherman: "Peştele şi mreaja fetei", "Dulful Mării Negre"; carols with biblical subjects: "În grădina raiului"; carols to commemorate the dead ones: "Colindul cel mare" etc.)
II.3. Songs about the birth of Jesus.
II.4. Carols for the Christmas Eve, the Christmas night and until the Epiphany, performed by mixed groups of carolers (married) during the night, together with associated musical forms.
II.5. Carols interpreted at Epiphany ("Chiraleisa", "Ciuraleaisa" etc.).
II.6. Popular theatre at Christmas, in crystallized variants, contaminated, hybrid and crossed, that contain songs and specific melodies ("Craii", "Crăişorii", "Irozii", "Malanca", etc.).
II. 7. Popular theatre at New Year’s Eve/ St. Vasile ("Jienii", "Nunta lui Jianu", "Haiducii", "Nunta ţării").
II. 8. Musical repertory of games with masks (anthropomorphic: "Malanca", "Baba şi Moşneagul", "Babele", "Moşii"; zoomorphic: "Capra", "Ursul", "Căluţul", "Caii", "Cerbul", "Cocostârcul" etc.) at New Year’s Eve/ St Vasile.
II.9. "Pluguşorul" (Little Plough) on New Year’s Eve/ St. Vasile, sung or shouted by a group of children.
II.10. "Plugul cel mare" (Big Plough) (a decorated plough within a traditional procession on New Year’s Eve/ St. Vasile), performed by a male group.
II.11. "Semănatul"/ Seeding, a well-wishing on New Year, shouted by a group of children and young.
II.12. "Sorcova" – a well-wishing on New Year, shouted by a group of children.
(see Traditions and Expressions of Verbal Art, having Language and Word Meaning as main Vehicle for Cultural Expression; Celebrations, Customs and Rites; Knowledge, Practices and Symbols about Man, Nature and Cosmos; Traditions and Expressions of choreographic Art or Practice; Knowledge regarding Traditional Alimentation; Techniques and Knowledge concerning Traditional Craftsmanship).
Specific songs within Easter holidays
II. 13. "Focurelul" – a vocal-interpretative creation (in the south of the country), performed in mixed group within the ritual-ceremonial manifestation on Shrove Tuesday, before the beginning of the Easter Fast.
II.14. "Lăzărelul" – songs/ carols on Palm Sunday (with a restricted circulation, in the confluence zone of rivers Prut and Danube, in the South of the Cahul District).
II.15. Spiritual popular Christian songs, interpreted in group in Church, on ritual meetings and meals, within Easter holiday.
(see Celebrations, Customs and Rites; Knowledge regarding Traditional Alimentation).
Musical expressions specific for spring-summer customs
II.16. "Paparuda", "Păpăluga" – songs/ children’s epithalamium, associated with representations of invocation of rain.
II.17. "Caloian", "Scaloian", "Păpuşică de gunoi" – songs/ epithalamium/ customs, representatives that celebrate grains, crop, marking the beginning of harvest etc.
II. 18. Whistling from different pseudo-instruments on "Rusalii" (Pentecost).
II. 19. "Drăgaica" or "Sânzienele", songs and dances with magic augury function, being integrated in the custom of invoking harvest, welfare, on the feast of Sânziene.
II. 20. The Garland or the Hare, song/oration/custom, representations of celebrating crops, harvest, marking the beginning of reaping etc.
Repertory associated with the utilitarian practice and the pastoral ritual
II. 21. Signals of orientation and conduction in space of the herd in form of melodies interpreted on flute, long flute, big flute, shepherder’s flute, having names with utility signification ("Şireagul"; "Porneala oilor"; "Când pornesc oile la păscut"; "De drum").
II. 22. Signals of the "bucium" (alphorn), destined for the organization of the work schedule and regulation of the work conditions on mountain sheepfolds, mainly centred on a free improvizatoric rhythm, that had special names ("Chematul oilor la muls"; "Când cheamă oile la strungă"; "La pornitul oilor"; "De amiază" ; "Seara pe munte"; "Răscolul" and others).
II. 23. Ritual and magic signals of the bucium (alphorn) or of the long flute, most of all centred on a free improvizatoric rhythm, that had cronotopic names ("Avesu, când pornesc oile la munte, cu prilejul sărbătorii Sf. Gheorghe"; "La mulsul oilor"; "La închegatul laptelui"; "La bătutul untului"; "La măsuratul laptelui" etc.).
II. 24. Songs about land in form of melodies interpreted on a big flute or little flute, often centred on a free improvised rhythm, having names with contextual significations ("Doina dimineţii"; "Doina de pe coastă"; "Ciobăneasca"; "Zicala" etc.).
II.25. Flute signal, in form of special melodies, some of them in a free improvised rhythm, dedicated to communication between young ones ("Când mergeam la fete"; "Când veneam de la fete").
II.26. Incantation formulas (signals of communication between humans and animals).
II.27. Onomatopoeic musical formulas (imitation of birds by whistling).
Repertory associated with wedding customs
II.28. Songs and melodies which accompany the preparation of the bride ("Schimburile/corabia/pocloanele" – an instrumental melody for listening, in a lent tempo, lyric character; "Cântecul hobotului, de înhobotat, de împodobit mireasa", in some cases, melodies in a free improvised rhythm; The song of the bride/ instrumental melodies to adorn the bride, to set on the flowers, melodies in a free improvised rhythm). Songs for the bridegroom (The song of the bridegroom, Song for the shaving of the groom, in some cases a melody in a free improvised rhythm).
II.29. Musical expressions linked with the main stages of the wedding (Melody of leave, epithalamium/ song/ melody of sorrow, melodies in a free improvised rhythm); "Hostropăţul", song/ epithalamium/ witty couplet/ melody/ "joc", ceremonial melodies in a giusto rhythm, integrated in 6/8 or 2/4 bars; "Jocul zestrei", "Zestrea", song/ witty couplet/ melody/ joc, ceremonial melodies in asymmetrical rhythm, in 7/16 bars; "Danţu", Three times arround the table, song/ witty couplet/ melody/ "joc", ceremonial melodies in giusto rhythm, most of the times in 6/8 bars; "Jocul găinii", "Găina", song/ witty couplet/ melody/ "joc, ceremonial" melodies in asymmetrical rhythm in 7/16 bars; "Jocul colacilor", ceremonial melodies in giusto rhythm, in 2/4 bars; "Busuiocul", "În jurul mesei", song/ witty couplet/ melody/ joc, ceremonial melodies in giusto rhythm integrated in 6/8 bars or 2/4 bars; "Moldoveneasca", "La scos danţu afară", song/ witty couplet/ melody/ "joc", ceremonial melodies in giusto rhythm, 6/8 bars, sometimes 2/4; "La schimbul colacilor", epithalamium/ melody of sorrow, in some cases, melodies in a free improvised rhythm; "Jocul miresei", "hora miresei", ceremonial melodies for dances in 2/4 bars; "Oleandra", "Războiul", ceremonial melodies, in some cases, in asymmetrical rhythm, in 7/16 bars; The dance of the pine or tree, in some cases ceremonial melodies with 2/4 bars; The dance of the mother-in-law, ceremonial melodies for dance in 2/4 bars; The dance of the wedding/ "Jocul nunţii", ceremonial melodies for dance in 2/4 bars; The dance of the veil/ "Jocul fatalei (voalului, hobotului, cârpei)", ceremonial melodies in asymmetrical rhythm, most of times in 7/16 bars; "Băsmăluţa" (Handkerchief), special melodies of sârbă type, 2/4 bars; "Hora zorilor" (Dawn hora), At the window of the newly-weds, ceremonial melodies, 2/4 bars; "Săltatele (Meringhele)", witty couplet/ melody/ "joc", ceremonial melodies in asymmetrical rhythm, 7/16 bars; Wedding "husăr" ("Husin", "Hus", "Husic", "Husn", "Husnu"), ceremonial melodies for drinking, also called "de păhar", "joc la masa mare", 2/4 bars; "Maramele", ceremonial melodies, sometimes in asymmetrical rhythm, 7/16 bars; The dance "Jocul (hora) nunilor sau Nuneasca", song/ witty couplet/ melody/ joc, in some cases, ceremonial melodies for dance, 2/4 bars; "Păsăţelul", in some cases are ceremonial melodies for dances; "Ciurul", in some cases, ceremonial melodies for dance; "Cioful", in some cases, ceremonial melodies for dance; "Mătura", in some cases, ceremonial melodies for dance; Song/ epithalamium for the mother-in-law (at the big table /"masa mare"), in some cases, in asymmetrical rhythm, 7/16 bars; Song/ epithalamium for nună and nun (wedding sponsors) (at the big table/ "masa mare"), in some cases, ceremonial melodies in asymmetrical rhythm, 7/16 bars; Song/ epithalamium for the cook (at the big table), in some cases, ceremonial melodies in asymmetrical rhythm, 7/16 bars; Song/ epithalamium for the newly-weds; "Cântecul/oraţia pentru miri" (at the big table/ "la masa mare"), in some cases, ceremonial melodies in asymmetrical rhythm, 7/16 bars; Theatrical nuptial scenes with masks and accompanied by music; The song of the bridemades, in some cases, ceremonial melodies in asymmetrical rhythm, 7/16 bars; "La ridicatul florii", "La luatul petelii miresei", "La învelitul miresei" (sorrowful song), in some cases, ceremonial melodies in asymmetrical rhythm; La schimburi, songs of the bridemaids in form of dialogues, witty couplet/ melody/ joc, in some cases, ceremonial melodies in asymmetrical rhythm, 7/16 bars; Traditional marchs, that accompany ceremonies with the occassion of shaking hands, welcome of guests, ritualic roads etc).
(see Celebrations, Customs and Rites; Traditional Musical Instruments; Traditions and Expressions of Verbal Art, having Language and Word Meaning as main Vehicle for Cultural Expression; Knowledge, Practices and Symbols about Man, Nature and Cosmos; Traditions and Expressions of Choreographic Art or Practice; Knowledge regarding Traditional Alimentation; Techniques and Knowledge concerning Traditional Craftsmanship).
Repertory of burial customs and remembrance for the dead ones
II. 30. Funeral song, musical eulogistic lamentation for the husband, father, son, daughter, mother, grandparents, sister, brother, nun (wedding sponsor), cousin, relatives, as a rule, in individual feminine execution. After the form and way of performance are distinguished the following species: individual lament in an improvised chanting prose; individual lament in a free versified form; individual lament of fix versified form; Spiritual verse, sung sometimes by the psalm reader or choir; Lament in feminine group, named “of dawn”/ “de zori”; Funeral ceremonial instrumental melodies “of sorrow”/ “de jale”, interpreted on the flute, in a free improvised rhythm of “doină” type; Funeral signals on "bucium" (trump), in a free improvised rhythm; Fiddler’s melodies interpreted on violin and folk music bands, in a free improvised rhythm, of sorrowful “doină” type.
(see Celebrations, Customs and Rites; Traditions and Expressions of Verbal Art, having Language and Word Meaning as main Vehicle for Cultural Expression)
Non-ritual artistic expressions of everyday life
II. 31. Historic epic song, that has for subject stories, events, past life stories (Where are you from? etc.).
II. 32. Epic heroic song, centralized on diverse subjects ("Gruia lui Novac"; "Toma Alimoş"; "Codreanul" etc.).
II. 33. Ballad (subjects: "Mioriţa"; the Shepherd; "Chira"; "Ilincuţa"; Unhappy fiancés; Woman sold to the Turks; "Milea"; "Corbea"; the Sun and the Moon; Constantin and Ileana; On that high hreen mountain; the Snake; the Daughter-in-law and the mother-in-law; the Cuckoo and the turtle dove; Song of Şandruleasa; Bad is the drunkard man; Here walks a man with four oxen; At Siret at Nămoloasa; Two foresters became related; "Turturica" etc.).
II. 34. Lyric recruits’ song
II. 35. Lyric conscription/ military song
II. 36. Lyric song on war
II. 37. Songs about shepherd’s life (in a dance rhythm, of song for the dance Joc type: "Măi, ciobane, de la oi"; "Măi ciobane, măi târlare"; "Bună-i brânza, bun îi caşul"; "Ciobănaşul"; "Ciobănaş la oi am fost"; "Ciobănaş, cuşmă rotundă"; "Ciobănaş mi-a fost mai drag"; "Ciobănaş cu oile" etc.; in a free improvised rhythm, of type vocal doină: "Doina ciobanului"; "Măi ciobane, ciobănaş"; "Aoleo, sărăcuţ de mine" etc.).
II. 38. Pastoral musical poem in vocal execution or vocal-instrumental (flute), with an ample program and with a reduced program, having different local names ("Când şi-a pierdut ciobanul oile"; "Doina ciobanului"; "Povestea lui Tânjală"; "Jalea cârlanului"; "Doina oilor"; "Zicala ciobanului"; "Ciobăneasca"; "Povestea ciobanului" etc.).
II. 39. Love songs
II. 40. Sorrowful and alienation songs
II. 41. Satirical, joke and humoristic songs
II. 42. Lullaby songs
II. 43. Lightly music-like formulas to caress the child
II. 44. Songs for the children games ("Auraş, păcuraş"; "Melc, melc, codobelc"; "Lie-Ilie, fluturii să vie"; "Buburuză-ruză" etc.).
II. 45. Traditional dance music, represented by diverse choreographic types and different melodic variants in instrumental or vocal-instrumental execution, sometimes associated with witty couplets, shout and dancer’s whistles. "Hora", a dance melody with 2/4 and 6/8 bars, in a lent or temperate tempo, with variations between 90 and 120 units in a minute; "Hora (joc) mare" a melody in a lent or temperate tempo, 6/8 bars, that varies between 80/110 units in a minute; "Hora în două părţi", in some cases a bipartite dance (joc) centred on a quick melody of sârbă and another more temperate of "horă bătută", 2/4 bars; "Horă bătută", melodies in an accelerated tempo, in variations between 130-150 units in a minute, in a binary rhythm, easily syncopated and accentuated out of time, integrated exclusively in 2/4 bars; "Bătuta", at origin an exclusively dance for men, of a great virtuosity, kinetic complexity and motor intensity, with „beaten” steps, syncopated and jaunty, centred on melodies of 2/4 bars, accelerated fast or tempo, with variations between 120-160 units in a minute; "Brâul", a quick, athletic, acrobatic dance, centred on melodies of 2/4 bars, accelerated or fast tempo, very alike with "Bătuta" dances; "Brâuleţul", melodies in accelerated tempo, binary rhythm and 2/4 bars; "Hangul", melodies in an accelerated tempo, binary rhythm and 2/4 bars, similar with "Bătuta" dances; "Sârba", melodies in a binary rhythm, most often in triple time, 2/4 bars, in accelerated or lively tempo, with variations between 140-200 or 220-230 units in a minute; "Bulgăreasca", melodies in a binary rhythm, most often in triple time, 2/4 bars, similar in character with "Sârba"; "Bătaia (pe bătaie)", melodies in 2/4 bars, similar in its character with "Bătuta or Hora bătutei"; "Hostropăţul (Oleandra, Geamparale)", melodies in asymmetrical rhythm whose basic impulses outlines an anapaestic formula, with a long third unit, 7/16 bars, being grouped in the order 2+2+3; "Ruseasca", melodies in binary rhythm, 2/4 bars, accelerated tempo or fast, similar in its character with "Bătuta"; "Şaierul", a polka type melody, assimilated from the Jewish folklore, centred on a binary rhythm, 2/4 bars, temperate or accelerated tempo, with 120-140 units in a minute; "Arcanul", the melodies that accompany the homonym dance for men, with special commands and figures, embroidered on a binary rhythm, 2/4 bars, accelerated or fast tempo, in a Sârba character; "Alunelul", at the origins, a play-song, accompanied by melodies in a binary rhythm, 2/4 bars, accelerated or fast tempo, popularised in schools, similar with "Sârba"; "Baraboiul", originally a play-song, accompanied by melodies in a binary rhythm, 2/4 bars, accelerated or fast tempo, popularised in schools, similar with "Sârba"; "Bătrâneasca", a dance in diverse kinetic local variants, that have melodies in a binary rhythm, 2/4 bars or 6/8 bars, with a diverse tempo, from accelerated to fast, 90-170 units per minute.
II. 46 Other species of dance music: "Boghii", "Blănăreasca", "Bocăneasca", "Busuiocul", "Buşanca", "Cadâneasca", "Ca la uşa cortului", "Căluşul", "Cărăşelul", "Căţeaua", "Căzăceasca", "Cozacul", "Chindia", "Chiperul", "Ciobănaşul", "Cioful", "Ciubotăreasca", "Ciurul", "Ciuleandra", "Coasa", "Corăghiasca", "Crăiţele", "Fata popei", "Fedeleşul", "Foarfecele", "Frumuşica", "Fudula", "Furata", "Floricica", "Frunza nucului", "Fusele", "Galaonul", "Gânjul", "Hulubul", "Husăr", "Husic", "Husin", "Huşanca", "Huţulca", "Ilenuţa", "Învârtita", "Juravelul", "Mărunţica", "Mătura","Mărunţica", "Mânioasa", "Merişorul", "Mocăneasca", "Oira", "Ovăsul", "Palipanca", "Pandelaşul", "Paraschiţa", "Pădureţul", "Păstarea", "Păsăţelul", "Polobocul", "Raţa", "Repezita", "Roata", "Răzeşeasca", "Săcăroaia", "Sănătorica", "Sâsâiacul", "Serbianca", "Sfredeluşul", "Şapte paşi", "Şarampoi", "Şchioapa", "Şotişa", "Şurubaşul", "Tănănica", "Trandafirul", "Trei lemne", "Treinăzad", "Trap bătut", "Trilişeşti", "Troanca!", "Tropoţica", "Ţărăneasca", "Ţânţăraşul", "Ţigăneasca", "Ţopăita", "Ungureasca", "Urma dracului", "Ursăreasca", "Voiniceasca", "Zbuciumul", "Zdrobolinca" etc.
II. 47. Dance witty couplets with versified quatrain, shouted in a specific rhythm of the melody of the dance. They have diverse motor functions (commands, invitations to dance), psychological (exhibition, competition, emotional repress), comunicative (dialog, satirization, banter, moral punishment) and aesthetic (creativity, representations, pleasure), sometimes are combined with shout and whistle.
II. 48. Music for dances of Western influence (Polca, with local species: Craiţ-polka (polka cross-crossed), Şnel-polka (fast polka), Draifus (polka in three steps), Clazir, Polka-Mazurca or Polmaz, "Polka închinată", "Polka din bâtrâni", "Polka bâtrânească", "Polca moldovenească" etc; "Cadril or Cadrilaş"; "Şotişa or Şoticul" (assimilated variant of german polka – Schotisch, ”scoşiana”, fr.=ecosseuse; "Mazurca"; "Vals"; "Galop"; "Padespani/Pospanţ/Poşpan"; "Cracoveac"; "Copăcelul"; "Sârba în vals"; "Polka în vals"; "Zaveriuha"; "Ceredinc"; "Lanţeta"; "Lendler"; "Vengherca or Vangherca" etc.).
II. 49. Dance songs, centred on a specific rhythm of traditional dances as "Hora" (2/4 bars), "Hora mare" (6/8), "Bătuta", "Hostropăţ", "Sârba" (the three ones at 2/4 bars).
II. 50. Songs of joy, Vivat, sung at the table, instrumental and vocal in a danced rhythm, associated with the custom of „playing” the glass with wine during nuptial banquets or parties (according to their rhythm, measure and tempo, can be distinguished three species: „The song of glass”/ cântec de pahar in a lent Hora, 6/8 bars; „The Song of glass” in Hora bătută rhythm or Sârba, 2/4 bars; „The Song of glass” in a hostropăţ rhythm, in asymmetrical rhythm, 7/16.
II. 51. Popular romance, love songs, erotic songs on a lyric melody, which express the universe of sentiments of the human being, articulated in free and fixed forms, centered on a free rhythm, easy to improvise, or on a fixed one (measured), representing old or new creations, of urban origin, cultivated or semi-cultivated, with well-known or unknown authors. They were transmitted in oral forms and were folklorised during the time, being assimilated by the lyric popular heritage, like Doină and the lyric song, the bearers often confusing them.
II. 52. The repertory of "Şezătoare/ Vergel" – a complex manifestation qualified as a traditional social institution, organised mainly during autumn-winter in groups (ceata) according to age and gender (vocal specific creations: Aseară la şezătoare, Mamă inima mă doare etc.; lyric vocal non-ritual creations, prevalent about love; instrumental creations of listening, non-ritual dances: "Coasa", "Trei lemne", "Sfredeluşul", "Ciuleandra", "Polca", "Juravelul", "Vengherca" etc.).
II. 53. Hora of the village/ Sunday Joc/ Horă/ Joc, a non-ritual ceremonial manifestation, organized during the year, centred on a musical-choreographic ritual and non-ritual repertory.
(see Celebrations, Customs and Rites; Traditional Musical Instruments; Traditions and Expressions of Verbal Art, having Language and Word Meaning as main Vehicle for Cultural Expression; Knowledge, Practices and Symbols about Man, Nature and Cosmos; Traditions and Expressions of Choreographic Art or Practice; Knowledge regarding Traditional Alimentation; Techniques and Knowledge concerning Traditional Craftsmanship).
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